Moving can be traumatic. But last week, when the cast of a hit Broadway show had to relocate to its new home at the Bernard B. Jacobs Theatre, literally next door, the mood was more merry than miserable.

In 1962, when Estelle Parsons made her Cherry Lane Theatre debut in Mrs. Dally Has a Lover, a strip club was in business next door, and the thump-thump-thumping of music could be heard through the thin, shared wall during performances. On the evening of Oct. 6, 2014 -- and on that same stage -- Parsons enjoyed recounting this and other morsels.

You will not likely find anything funnier onstage, just now, than Nathan Lane in the opening scene of Terrence McNally's It's Only a Play. Lane, as a humble off-Broadway actor turned top-tier sitcom star, is given a barrage of robustly funny jokes to launch at us, mostly of the lacerating variety.

We are awash in films examining the Beats and the roots of the generation shift that occurred from the late 1950s through the 1960s - but none with a clearer eye than Joel and Ethan Coen's Inside Llewyn Davis.

What strikes audiences immediately at the CSC production of Brecht's Galileo is how modern it feels. Today's polarizing political landscape, with attacks on established scientific theories, is a chilling reminder that Galileo's struggles mirror our own.